- Venue
- Victoria & Albert Museum
- Location
- London
I was immediately drawn to this exhibition for a number of reasons. Firstly, I, like many others I’m sure, have witnessed the V&A’s exhibition programme move from strength to strength over the last year. Showcasing traditional British collections of embroidery in ‘Quilts: 1700-2010’ right through to the cutting edge of interactive technological design in ‘Decode: Digital Design Sensations’, they are producing shows of late on par with the likes of Tate Modern’s ‘Van Doesburg & the International Avant Garde’ & the Royal Academy’s ‘The Real Van Gogh: The Artist and his Letters.’ What will they produce next? Well this current show is a retaliation against traditional architecture exhibitions. Yes, against. Drawings, plans, models, photographs – these are too often seen to dominate the content of architectural practice when presented to the public, to the point of alienating them altogether. So this exhibition seeks to explore and contemplate the physical nature of architecture, at play, if you will. This is presented by inviting the participation of the viewer into a series of habitual spaces, each designed by an architect, which explore themes around performance, contemplation, work and play. So, highly interactive really.
Unlike many exhibitions at the V&A museum, what became immediately apparent in splitting this one apart from the pack is being handed a map on entry to assist me in locating the seven structures which, aside from the Porter Gallery, have been vastly spread across its grounds. It’s nice to have the opportunity to find, to explore, to seek out each structure; then once located to give it a snippet of the time and attention that each architectural team enslaved upon it for months on end, to which it truly deserves. As a pose to the standard practice of displaying work across a series of rooms full of framed selections of advertising, elevations & cross sections bombarding the walls; having to squeeze alongside vast amounts of display cases full of models while having to read ‘do not touch’ signs plastered every which way. Well that’s what I experienced in the Lecture Room of the Royal Academy Summer Exhibition this year anyway… Personally I prefer the former.
On a more serious note though, the architects have each negotiated a specific space throughout the grounds with the V&A Curator of Designs, Abraham Thomas. Their aim was to strike up a dialogue between the surrounding environment and work of the V&A collection, alongside their own philosophy and approach to construction. The project injects a hint of freedom into the design process, a chance to which those chosen may not receive on larger building projects.
Initially nineteen architects were commissioned by the V&A for this project. From those, seven were selected to be built full scale. Each structure is also accompanied with a short film, diluting the building process whilst providing informative facts on the architects approach to design on their structure. For those enthusiasts keen to get a peek at the underlying design process all the same, a single room has been dedicated to display just that.
As an introduction (as well as a teaser of what is to come), the first two structures are dramatically placed in the Porter Gallery just left of the main entrance. I immediately sensed a theatrical undertone, as both structures sat subdued amongst a hive of buzzing bodies. The room was completely filled with darkness, the only light coming from a projected screen playing a loop of interviews on the selected architects work and a serene glow emanating from the interior of Rural Studio’s Woodshed. I was draw to this large, dark, horizontal construction initially; to find an electro-organic fusion of light bulbs growing every which way like wild vines inside the timber hut. Simple in idea, yet powerful in effect.
Deeper into the room stood the Brazilian architect Vazio S/A’s Spiral Booths. A tall dark tower, discreetly camouflaged by its adjacent glowing partner. I only had a drape of deep rouge to draw me towards it. On drawing closer, I was to find it the entrance to a square based spiral staircase encased on the outside by metallic mesh framing and clear Perspex. Inside I found the staircase inter-dispersed with small cupboard like spaces hidden behind red curtains. After watching the accompanied short film, I discovered it was designed for performance means. Whether entering and exploring the hidden crevices behind closed curtains or being the observer outside watching in, you become part of an evolving process of activity. I was later to discover several theatre companies were to hold performances inside the booths throughout the duration of the exhibition, to which the public are able to observe or mingle amongst, effectively participating themselves – I shall definitely be back for that.
After leaving this darkened room, I was pleased to feel the warm of sunshine as I entered the John Madejski Garden to view Helen & Hard Architects’ Ratatosk. A small canopy woven space carved entirely from ash tree and laden with bark scatterings concealed in netting along the ground, its organic aesthetics really complemented the surrounding greenery. It’s playful nature was immediately popular with children and adults alike, as they climbed inside using the carved footing inside the trees provided, exploring gaps and crevices between branches. After some exploration myself I was to find a quaint poem delicately hand carved across the interior of the half cut trees dictating the ventures of a Nordic squirrel, said to be delivering messages from heaven to those on earth.
My next stop was the infamous Cast Courts. Known amongst sculptors, art historians and the generally curious as one of the homes of the famous ‘David’ by Michelangelo. Sadly its limelight has been stolen for a brief period by Studio Mumbai’s In-Between Architecture. Initially on entry I did not notice the plaster cast building, as it was so highly camouflaged amongst its peers. Built based on dwellings of the poor in Mumbai, they exist as spaces in between buildings, which eventually become inhabited. In-Between Architecture is built up from narrow passageways, steep staircases and small spaces, highlighting the division in living circumstances of the Mumbai population in comparison to our modern living. The atmosphere on entering is that of silence and peace, with the only light source appearing from gaps in the walls or openings from above. Sitting in one of the tiny spaces off a corridor I experienced a moment of tranquillity, though I pondered as to whether I would feel the same if I was to call this my home.
There’s a segment of what I experienced, I’m not going to spoil it by unravelling all the gems this exhibition has to offer. After all, these structures are for experiencing firsthand, and these are only my experiences. I’d rather you go along for yourself and allow your senses to unravel – become a child again. Explore. Contemplate.
